“One of Mendelssohn’s own watercolours of the Amalfi coast is on the cover of the Sitkovetsky Trio’s recording, all honeyed village walls and turquoise sea; a similar sense of heat and spaciousness comes across in their performance of his two piano trios […] The slow movement of No 1 is full of long phrases and sweet violin tone, and the finale rounds things off with a fine balance of breadth and playfulness.”
–The Guardian (4 stars), 2015
Read More“The dexterous Sitkovetsky Trio niftily invert Mendelssohn’s two piano trios in this effervescent recording…one of the joys of this spirited recording is the piano playing of Wu Qian, whose liquid runs and singing melodies do not “show off”…but balance perfectly with the violin and cello in this triangle.”
–The Independent on Sunday (4 stars), 2015
Read More“This new recording certainly caught my attention…the drama and excitement instilled into the outer movements really gave these works an added depth… An interesting journey this: one that started with curiosity and reservation, but soon led to revelation. I won’t say “finished” because as I write these concluding words, I am listening to the Sitkovetsky’s playing the scherzo and finale of the first trio, and their thrilling ride is giving me goosebumps.”
–Double Recording of the Month Music Web International, 2015
Read More“The tasteful and elegant drama of the outer movements (of both trios), the elfin dancing Scherzos, the wonderfully rounded Andantes, the whims and fancies, the shimmering, buzzing, uncommonly virtuosic interplay develops its own gravitational pull - and the simultaneous careful treatment of the notes was not about control or "monitoring", but rather added aesthetic value.”
–Klassik Heute, 2015
Read More“This trio is captured in full flight at a Wigmore Hall concert, with scintillating playing with which it is hard to take issue… The players turn in a neat performance of Schubert’s Second Piano Trio, its brilliance streaked by moments of darkness and its formal cohesion contrasted with nicely characterised dances, whether elegant or rustic. There’s no let-up in energy in the finale, which bursts with liveliness. These are fine, crystalline performances of which the audience is audibly – and understandably – appreciative.”
–The Strad (CD Recording Wigmore Live: BRAHMS Piano Trio in C minor Op 101, Schubert Piano Trio in E flat major D929), 2015
Read More“An incredible performance of Brahms C minor piano quartet closed the programme; the instruments kept a perfect balance with all artists notching up the volume at the right moments to bring alive Brahms' oscillating piece.”
–Papiruszportal.hu (Szabo Ildiko), 2015
Read More“Sitkovetsky astonishes with his dazzling playing in the duos.”
–Fanfare (Jerry Dubins), 2015
Read More“Right from the start, Mr Sitkovetsky was inspired. His playing soared above the orchestra with a skill and clarity that was truly beautiful, and his total engagement with the music and the performance shone out. (..) He received a well-deserved standing ovation. I look forward to his next visit.”
–On the Wight (Jonathan Dodd), 2015
Read More“(..) Halvorsen's virtuoso reworking of a Handel Passacaglia (..) was brilliantly played, Sitkovetsky and Rysanov both completly on fire as they imbued this Paganini-esque showpiece with split-second timing, quirky spontaneity, and raw, rustic humour.”
–The Scotsman (Ken Walton), 2015
Read More“Mr. Sitkovetsky and Ms. Qian brought out all of the folksy dance-like rhythms. It is always a good sign when everyone in the audience seems to be tapping their feet or bobbing their head. The back and forth between the instruments was lovely, as was watching their shadows move on the back of the hall. They brought Grieg's colors to life, making every phrase ring. To hear such lush music in a small space was a treat.”
–Scoresby – Oberon's Grove, 2017
Read More“Sitkovetsky was at his best in the faster passages, producing plenty of attack and retaining perfect control and articulation. The harmonics in the cadenza were exceptional, as was the acceleration towards the end of the movement and then the fast, light touch phrases in the finale. … Sitkovetsky treated us to all the grace and spaciousness that I could have wished for.”
–Bachtrack (David Karlin), 2017
Read More“Violinist Alexander Sitkovetsky, like his accompanists, displayed an admirable technical facility and to this he added an incredibly clear sound blessed with a lovely silky sheen. Once more like the Tonkünstler, Sitkovetsky’s power and projection were striking – I don’t think I’ve ever heard the harmonics in the first movement cadenza ring so loud, full and true.”
–Seen & Heard (Claire Seymour), 2017
Read More“...and that’s just exactly where a mischief breaks though, the same way that Liebreich had previously hinted at in the miniatures "Arbor Cosmica". The Russian-British soloist Alexander Sitkovetsky picks that up with a heightened and always keenly direct sound, especially in the third movement where the wild position changes of the solo part soar above the jocular hurricane of pizzicato of the orchestra – a final clear chord sounding the end of the storm. Liebreich beams, the orchestra smiles, and the audience is rapturous.”
–Suddeutsche Zeitung (Rita Argauer), 2016
Read More“Alexander Sitkovetsky soloist made an unimpeachable case for the full concerto’s integrity. He handled the solo part with dashing brilliance as well as warmth. It’s always impressive to see a soloist who is really involved in the orchestral role as well his own – an earnest musician committed to the total work he was performing.”
–Isthmus (John W Barker), 2016
Read More“[Sitkovetsky's] tone in the second movement was a wonder, with finely shaded dynamic levels.”
–New York Classical Review (Bruce Hodges), 2016
Read More“Sitkovetsky brought great control of dynamics, a fine rubato and a powerful edge to his lovely tone with some wonderfully fleet passages as well as a beautifully shaped cadenza with moments of fine purity.”
–The Classical Reviewer (Bruce Reader), 2016
Read More“Alexander Sitkovetsky was sublime, coaxing note after awe-inspiring note from his violin and proving his very real talent.”
–365Bristol (Sarah-Jane Howard), 2016
Read More“Watching him for only the second time tonight he displayed a confidence and passion in his conducting and knows how to bring out the best from such a large ensemble [RNCM Symphony Orchestra]. Between the two of them [Jeremy So, Prokofiev: Piano Concerto No.2], along with the venue, making the orchestra perform I think, probably the best I have ever heard them.”
–North West End (RNCM Symphony Orchestra), 2016
Read More“Passionate and exacting - knowing exactly how to ooze out every last morsel of dynamic from every single instrument. The soft passages were cotton wool, whilst the fortissimo was excellently controlled. His craft is undeniable and he was a joy to watch as he exuded both love and confidence.”
–North West End (RNCM Symphony Orchestra), 2016
Read More“This [Tchaikovsky's Fatum] was conducted by Harish Shankar, the Royal Northern College of Music’s present junior fellow in conducting, and he made a very impressive Hallé debut indeed. There was power and intensity in the opening and close, refinement and beauty in the more lyrical episodes, and electricity in tone and phrasing as the music grew to its climaxes. In truth it’s more like a ballet score without a ballet than a symphonic movement, but that gave scope for tension, drama and energy, and Harish Shankar’s style, economic on gesture but effective, gives an orchestra what it needs and nothing else.”
–Manchester Evening News (Hallé), 2015
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